• Korean journal of communication and information
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• v.47
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• pp.50-73
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• 2009

A tendency to ignore the existence of public space in Korea under the Japanese colonial period seems to be driven from nationalist historiography in which all historical events under the colonial power have to be interpreted in terms of militant controls and resistances against them. Historical approach to mass media of that period has lasted to be saturated with the tendency and forced history students to stick to the nationalist guidelines. Struggles against Japanese imperial power by national-capital-operated newspaper have been a main menu of studies on the period's communication. The media were often hailed as fighting the colonial power for nation's independence. The present thesis aims to criticize the nationalist point of view and to reveal that nationalist interpretations may miss a variety of historical information. Even under the severe surveillance of colonial police some journalists tried either to inform officially or to smuggle into informed groups. The colonized society could experienced fields of public-ness throughout the practices of such as media fields, cultural fields, political fields. Those fields, of course, didn't come from the graceful favor of the colonial power but from the construction of the colonized. The public-ness seemed to be born for the easiness of control, but became later a constructed field of public-ness with which the colonized semiotically wrestled the power and grew a modern type of political (un)consciousness. Depicting what happened just before 815 liberation day in Korea the present paper showed that the less nationalist historiography can render help to those seeking political practices of the colonized in a micro-level.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.4
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• pp.124-139
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• 2015

Unlike other mountains in Korea, Seoul Namsan(南山), which is one of the landmarks that represent the country's capital city, is perceived as a city park. This article aims to study the process that Namsan became a park and the transformation of its place in Korean Emperor and Japanese colonial period. The serial changes in Namsan, in early modern era, mean that is associated with the colonial urbanization and the rule of space by Japan. The stages of Waeseongdae Park(倭城臺公園), Gyeongseong Park(京城公園) and Hanyang Park(漢陽公園) under the leadership of Japan, due to the extension of Japan's power, Namsan has became the park. Here, the park has become a strategic tool of other's occupying Hanseongbu(漢城府), a capital city. The process that Namsan became a park dose not mean making the space for recreation and rest, but is an excuse for using the land. Since then, Namsan's parks barely fulfilled its original function as park as it was transformed into a shrine, Gyeongseong Jinjya(京城神社), for Japanese warriors or was incurred upon by Joseon Singung(朝鮮神宮), which was established as a facility to govern Korea, sometimes is gradually and sometimes is mercilessly. The fact, transplantation of Japanese culture and replacement as ruler space, is another aspect of occupying and govern place. In other words, while the process that Namsan became a park is the way of establishing Japanese force, the transformation of its place show a colonial rule as an aspect of space. Meanwhile, in spite of transformation to shrine, Namsan became accepted as a park for a long time, because of the forest of Namsan. Japan managed forest as a sacred place. It is also a result of the Japanese rule of space.

• 한국사회복지학회:학술대회논문집
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• 2007.04a
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• pp.661-667
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• 2007

현재 일본 내에 거주하고 있는 외국인 중 재일 한국인/조선인(이하, 재일코리안)이 제일 많은 부분을 차지하고 있다. 재일 코리안 중 65세 이상이 13%가 넘는다(재일고령자 조사위원회, 2003). 이런 재일한국인/조선인의 고령자(이하, 재일코리안 1세라고 말함)는 대부분 식민지시대에 조국에서의 생활기반을 잃어버리고 일본에 건너오게 되거나 혹은 강제연행으로 인해 일본에 거주하게 되었다. 재일코리안 1세는 연령적으로는 후기 고령자이며, 문화의 차이, 언어적 문제 그리고 경제적인 문제 등의 어려움이 있다. 이런 많은 어려운 점 중에서도 특히 개호의 문제(노인수발 문제)는 가장 심각하다. 이런 문제들 중 먼저 역사적인 경위에 대해 선행연구 등을 통해 논해 보고자 한다. 또한 문화적 차이와 언어적 문제가 개호보험 서비스 이용에 있어서 장애가 될 가능성도 있을 수 있으며, 대다수가 무연금자인 점(길영(吉永), 2004), 개호보험과 재일코리안 1세의 경제적인 요인이 심각한 문제인 점인것(북촌(北村), 2004)을 말하고 있다. 이를 배경으로, 후꾸오까/나가사키 지역의 재일동포 1세에게 직접 설문조사를 실시했다. 조사 결과 재일코리안 1세는 일본의 고령자보다 훨씬 개호보험 서비스 이용에 소외될 가능성을 가지고 있었다. 재일코리안 1세의 개호의 문제는 한국에서가 아니라, 거주하고 있는 일본에서 해결되어 져야만 하는 문제이며 그 개선책 또한 논하였으며 향후의 방향성에 대해서도 고찰해 보았다.

• The Journal of the Convergence on Culture Technology
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• v.9 no.6
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• pp.309-317
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• 2023

The purpose of this paper is to investigate how Japan tried to dominate Chosen through educational policies by analyzing three official English texts published by the Japanese Government-General of Korea: the First Chosen Educational Ordinance declared in 1911, the Manual of Education of Koreans(1913), and the Manual of Education in Chosen 1920(1920). In order to pursue this purpose, the present study carried a corpus-based diachronic analysis, rather then a qualitative analysis. Facilitating text analytics such as Word Cloud and CONCOR, this paper derived the following results: First, the first Chosen Educational Ordinance(1911) includes overall educational regulations, curriculum, and operations of schools. Second, the Manual of Education of Koreans(1913) contains the educational medium and contents on how to educate. Finally, it can be proposed that the Manual of Education in Chosen 1920(1920) contains specific implementation of education and the subject of education.

• Cross-Cultural Studies
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• v.40
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• pp.239-264
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• 2015

In the early 20th century, Japan built theaters to take possession of colonial culture while establishing the Imperial University, libraries, and museums to accumulate and spread the knowledge of "imperial" Japan. Many different genres made a hit in theaters including theatrical troupes, theatrical companies, and motion pictures. One of the various features of expositions was "spectacles" or unusual events. They were integrated with a national festival in celebration of "5th anniversary of political commencement." In 1915, the longest hit series in Keijo (Seoul) was the dance performance by professional Japanese beauties and entertainers, whose songs delivered the legitimacy of governance. This study focused on the performance in the space of "cultural" spread called theaters, thus examining the "imperial" cultural waves they were in charge of. The study also focused on the tensional relations of Hierarchie along those cultural borders. The performance at the theater Engeikan(演芸館) in 1915 was especially an epoch-making event in the Japanese theatrical community of Keijo (Seoul): first, it marked the emergence of large-scale performance hall called Engeikan(演芸館); secondly, the performance kept its ongoing, stable streak for about 50 days; and it led to the appearance of leading troupes including Geijutuza(芸術座), which put on a show in Keijo (Seoul) in November, 1915. The study examined the issues of theater Engeikan(演芸館) performance in 1915 involving the art company, performance genre, and audience composition, showed that there was the coexistence of entertainment and governance through cultural ruling while securing amusement and entertainment, and found it was accompanied by the organized operation of "Keijo Sponsorship Council（京城協贊會）" which brought together the cultural capabilities of Japanese people living in Joseon. The performance at theater Engeikan(演芸館) in Keijo (Seoul) in 1915 fully reflected the issues involving the tensional relations between different artistic genres, the competing relations between the subjects of performance, and the cultural power.

• The Journal of the Korea Contents Association
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• v.15 no.10
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• pp.46-55
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• 2015

This study is to re-read Yun, Baek-nam(1888-1954)'s editorial "Theatre and Society" from the perspective of postcolonial criticism. He was a man of the theatre who pursued practical interests in compliance with the colonial reality under the rule of the Japanese imperialism. His advocacy of theatre development work was based on the Japan-directional reformism and on Japan-friendly in following after Japan's improvement policy. His general discussion on Western theatre history had considerable errors as a result of focus on the social role and utility of the theatre. But his vindication of theatre-actor opened an era of interaction between theatre and intelligence in Korea. In addition, his enlightening view of a theatre became such as one of the cornerstones for the Shinkug Movement during Japanese colonial period in Korea.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.336-342
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• 2021

Japanese imperialism initiated the Sino-Japanese War in 1937 and promulgated the Total National Mobilization Act in 1938, establishing a wartime total mobilization system. In the beginning of the wartime general mobilization system, Japanese colonialism focused on women's labor force and mobilized women both domestically and abroad. Women were forcibly mobilized to the Labor Patriotism Unit and Jeongshindae(Korean Women Labor Corps). Women had to take the place of home work as well as the work of men who had already been mobilized, and at the same time faced a poor situation of being forced to mobilize for war. The mobilization of Jeongshindae took place in various forms, such as recruitment, voluntary support by government offices, propaganda through schools or groups, job fraud, coercion or threats. Jeongshindae which was a representative victim of the forced mobilization of women during the Japanese colonial period, was individually litigated and remains an unresolved problem. In order to uncover the reality of the forced mobilization of women during the wartime general mobilization system, continuous research and social education through related organizations are required.

• Korean Journal of Heritage: History & Science
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• v.50 no.4
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• pp.82-103
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• 2017

Systems operating construction expenses for preservation and repair of the architectural heritage may be divided into two in the Japanese colonial era. They are preservation cost nd preservation cost-aided constructions, according to the ownership of a building. Preservation cost construction refers to preservation and repair of government-owned buildings that Japanese Government General of Korea had the ownership and the right of management, and preservation cost-aided construction means preservation and repair of private buildings such as Buddhist temples. In the case of preservation and repair of buildings owned by the government, it was done by the Japanese Government General of Korea, so the same agent executed the budget and managed the properties. They included royal tombs and relics, old government offices, Hyanggyo and some Seowon. On the other hand, in the case of preservation and repair of private buildings, they were private properties, so Japanese Government General of Korea had rights only for permission of preservation and repair. If there was a request for .preservation and repair by an owner, the Japanese Government General of Korea decided on whether it would support its expenses or not and played a role of management and supervision. It applied to Buddhist shrines and pagodas owned by Buddhist temples and shrines and temples owned by individuals and families. Hence, in the case of government-owned buildings, because the preservation cost was spent from the Japanese Government General of Korea's budget for investigation expenses of historical remains or repair expenses of Jeolleung and ruins, they were classified into preservation cost constructions. As for private buildings, the cost was spent from their budget for aiding preservation expenses, so they were classified into preservation cost-aided constructions. Because preservation cost construction and preservation cost-aided construction were conducted by two different agents, there were a little difference in procedures for executing a construction. There was no big difference in the general progress of constructions but was an administrative difference in the kinds of documents submitted and the roles of field supervisors. Such dual systems remained unimproved throughout the Japanese colonial era. The Japanese Government General of Korea was the colonial government so much influenced by the Japanese Government. Most Japanese architectural heritage was owned by Buddhist temples and Shinto shrines and there was almost no building owned by the government, resulting in a unitary system unlike Korea. Heritage system by the Japanese Government General of Korea was established under the influence of Japan regardless of the situation in Korea. Accordingly, Japanese Government General of Korea could not present a definite solution in the bisected system of preservation and repair expenses for the heritage. It shows the limits of the Japanese Government General of Korea in the colonial era.

• Journal of the Daesoon Academy of Sciences
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• v.24_1
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• pp.145-208
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• 2014

아시아 국가들은 근대사에 들어 서양 제국주의와 식민지주의로 인해 정치·사회적 과도기를 경험하였다. 지역종교들도 이러한 영향에서 예외는 아니었는데 19-20세기에 나타난 신종교들이 그 좋은 사례들이다. 한국도 이러한 지구적인 현상에 포함되었다. 주변국들의 문화적 계몽주의와 조선왕조의 쇄국정책 사이의 정치적 혼란은 방향 감각 없는 국가적 위기를 초례했고, 정치·사회적 부패와 국가적 불안정은 중·하류층 시민들로 하여금 고통스러운 삶을 극복하기 위해 새로운 진리나 믿음을 찾게 동요하였다. 근대사에 근원을 둔 대순진리회는 한국에서 가장 영향력 있고 성공적인 신종교일 뿐 아니라 현대사회의 기존 종교들에게도 많은 도전을 주고 있다. 그렇다면 이 신종교운동의 근원은 어디에 있을까? 그들의 교리나 가르침은 어떤 것일까? 다른 신종교적 현상들과 어떻게 구별될까? 이 논문은 창시자인 강증산의 역사적인 출현과 업적을 "성취관념"에서 분석해 볼 뿐 아니라 대순진리회가 기존의 유교, 불교, 도교의 가르침을 단순히 혼합한 것이 아니라 음양합덕, 신인조화, 해원상생, 도통진경의 특유한 가르침들은 미륵사상, 천지공사, 인존사상과 함께 그들의 최고신인 구천상제가 후천세계를 위해 성취한 완전한 미션을 반영하는 창조적인 사상임을 논증할 것이다.

• 지역과문화
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• v.6 no.3
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• pp.29-53
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• 2019

Korean traditional women artists are placed in dual suffering from unequal rights in terms of gender and misrecognition endowed by historical legacy. There has been no clear cut definition but interchangeable adoption of various terms such as Yeo-ak, Yeo-gi, and Gisaeng even in the study of music theory and history itself. Study on female musician has been mostly performed on the basis of music theory and history so that one sided discourse on female traditional artist has survived and aggravated its connotation during the colonial ages and modernization. Envisioning traditional female artist as instrumentalizing their body and status as artist resulted in crucifying victims of sexual harassment is one recent example. This study is an attempt to collect knowledge on the various layers of discourse about the status and role of female traditional artist. This is a first stage of analysis covering the period Joseon dynasty where original and official records regarding female traditional artists remains until today. The findings are that policy discourse are to be classified as politico-ideological layer, music theoretical layer, and socio-political layer. It is to be clarified in the future which layer has the most sustaining influence to the present and why.